古代人“陶”的制作

介紹

我是一名藝術(shù)家，在Weta工作室設(shè)計(jì)工作室，主要從事電影的生物和角色設(shè)計(jì)，偶爾也會(huì)做游戲。我一直受到幻想和神話的啟發(fā)。我想讓這個(gè)角色的臉講述一個(gè)故事;這并不一定是我編造的故事，但觀眾可以自己理解。

Introduction

I am an artist who works at Weta Workshop Design Studio doing mainly creature and character design for film and occasionally for games. I've always been inspired by fantasy and myth. I wanted this character's face to tell a story; not necessarily a story that I've made up, but one the viewer can sense for themselves.

圖01 Fig. 01

圖片

一般來(lái)說(shuō)，我為工作而設(shè)計(jì)的圖像類型，是以最逼真或電影化的方式來(lái)突出和展示設(shè)計(jì)的圖像類型，通常使得圖像感覺非常適合工作室照明。對(duì)于這件作品，我想使用相同的工具，但創(chuàng)造一個(gè)更喜怒無(wú)常的大氣肖像。對(duì)于這個(gè)特別的例子，它將是關(guān)于最終框架渲染。事實(shí)上，它是為了在惠靈頓舉行的展覽而打印出來(lái)的，所以它更少的是關(guān)于雕塑和更多關(guān)于整體的作品(圖02)。

The Image

Generally the types of imagery I make for work are ones that highlight and show a design in the most photorealistic or cinematic way possible, frequently making the images feel very studio lit. For this piece I wanted to use the same tools but create a more moody and atmospheric portrait. I decided that for this particular illustration it would be all about the final framed render. In fact, it was to be printed out for an exhibition held here in Wellington so it was less about the sculpting and more about the overall piece (Fig.02).

圖02 Fig.02

我用來(lái)創(chuàng)建Tao的軟件是Pixologic的ZBrush和Adobe Photoshop。我在工作中廣泛使用這兩個(gè)軟件包，并將其用于個(gè)人項(xiàng)目。雖然造型只是打算從一個(gè)角度來(lái)看，ZBrush增加了很大的深度，你的形象。這也是我為什么在維塔的設(shè)計(jì)工作中使用它的另一個(gè)原因。看到你設(shè)計(jì)的一個(gè)生物或角色在一個(gè)不錯(cuò)的插圖中，然后從不同的角度來(lái)看它是非常有價(jià)值的。正如你用手在圖像中看到的那樣，我只是真正地將細(xì)節(jié)雕刻在將被觀看的一側(cè)（圖03）。

The software I used to create Tao was Pixologic's ZBrush and Adobe Photoshop. I use these two packages extensively at work and enjoy using them for personal projects as well. Although the sculpt was only intended to be viewed from one angle, ZBrush adds great depth to your image. This is another reason why I use it so much for design work at Weta. Seeing a creature or character you've designed in a nice illustration and viewing it from different angles afterwards is so valuable. As you can see in the image with the hands, I've only really sculpted detail into the side that will be viewed (Fig.03).

圖03 Fig.03

然而，在臉上我花了更多的時(shí)間來(lái)雕刻紋理。我通常不會(huì)用工件去做這件事，因?yàn)橥瓿烧�件作品的時(shí)間更緊迫，但是看到這是為了我自己和展出，我喜歡在他的臉上添加額外的細(xì)節(jié)（圖.04）。

However, with the face I spent a little more time sculpting up the texture. I don't normally go this far with work pieces, as time to finish the whole piece is more pressing, but seeing as this was for myself and to be exhibited I enjoyed adding that extra detail in his face (Fig.04).

圖.04 Fig.04

我從一個(gè)普通的網(wǎng)格開始雕塑，嘗試了幾個(gè)不同的姿勢(shì)，但我大致知道我想要去哪個(gè)姿勢(shì)。在一個(gè)階段，我發(fā)現(xiàn)這讓他看起來(lái)有些虛弱，觀眾直接的視線使他的力量更強(qiáng)了（圖05）。

I started the sculpture from a generic mesh and tried a few different poses, but I knew roughly where I wanted to go with the pose. At one stage I found it made him look a little too weak and that the direct eyeline with the viewer gave him a little more strength (Fig.05).

圖05 Fig.05

我總是試圖規(guī)劃自己的作品，而我希望把最初的重點(diǎn)放在他的臉上和雙手上，并用直接的視線來(lái)加強(qiáng)。我總是喜歡使用這種權(quán)重，因?yàn)樗�總是感覺正確。舊的黃金比例！

對(duì)于我用ZBrush創(chuàng)建的設(shè)計(jì)作品，包括這個(gè)，我總是在模型上烘焙出許多著色器，用在我最后的Photoshop作品中（圖06）。

I always try to plan my composition and with this piece I wanted the initial focus to be on his face and hands, with a direct eyeline weighted towards the top. I consistently like to use this sort of weighting as it always feels right. The old golden ratio!

For my design work created with ZBrush, including this one, I always bake out a number of shaders on the model to use in my final Photoshop piece (Fig.06).

圖06 Fig.06

當(dāng)我開發(fā)諸如照明，反射，顏色，皮膚半透明，甚至紋理等方面的外觀和感覺時(shí)，這給了我很多玩法。 只要我有ZBrush的alpha通道，我就可以做任何我想要的背景，有時(shí)這可能會(huì)導(dǎo)致整體的有趣的發(fā)展。 我也喜歡添加一些紋理圖像，我不斷地拍攝或下載有趣的紋理，如苔蘚或銹。 這些可以在整個(gè)角色和整個(gè)圖像上產(chǎn)生一些有趣的噪音和文物（圖7）。

This gives me a lot to play with when I'm developing the look and feel of aspects such as lighting, reflection, color, skin translucency and even texture. As long as I have my alpha channel from ZBrush I'm able to do whatever I want to the background and sometimes this can lead to interesting developments in the overall piece. I also like adding some texture images and I'm constantly either photographing or downloading interesting textures like moss or rust. These can create some interesting noise and artefacts across the character and the image as a whole (Fig.07).

圖7 Fig.07

這種技術(shù)對(duì)這幅圖像尤其有用。我經(jīng)常用它來(lái)創(chuàng)造舊的感覺。

This technique came in particularly handy for this image. I used it extensively to create the worn and old feel of the piece.

這是一個(gè)巨大的榮譽(yù)，成為這個(gè)驚人的出版才華橫溢的藝術(shù)家的一部分。我希望我所分享的都是有益的，我期待著在未來(lái)分享更多的工作。

It is a huge honour to be a part of this amazing publication of incredibly talented artists. I hope what I have shared has been helpful and I look forward to sharing more work in the future.